Review: Colin Curtis - an early purveyor of rare groove and jazzdance whose credo rings far and wide - has been helming his own label of originals for some time now. Presently focusing on the best live-feel broken beat, house and jazz in his orbit, his latest curation, Cengiz and Ishfaq's 'Vibrations', is no break from this general rule. Each artist helming one side respectively, Cengiz' 'Motf' and its remix work a steadily built progression around faint jeers, metallic percs, filterpassed tom fills and space-age risers, the latter of which is much more skeletal than the former; while Ishfaq's 'Wonderjazz' moves impressively somewhere in the lost interregnum between speed garage and techfunk.
Review: Marking Indica Dubs' 100th release in serious style, 'When Jah Come' by Danman takes the form of a powerful tribute to the late Jah Shaka, whose influence shaped generations of dub and roots sounds and musicians. This long-anticipated dubplate was famously championed by Shaka himself and comes laden with deep, earth-shattering basslines, spiritual vocals that touch your inner psyche and militant rhythms with unmistakable reverence. It is a celebration and a memorial that honours Shaka's legacy while showcasing Danman's ever-commanding voice and Indica Dubs' unrivalled production strength.
Review: Shout out to Greek powerhouse Kinesthetik Recordings for making it all the way to a half a century of releases there. They celebrate in the best way they know - with more tranced-out sounds from artists in their orbit. Giorgio & Andreas open things up with 'Nice One' and its thudding tech drums and cosmic synth lines. Diskinesia gets much more raw and moody with the edgy drums of 'Back & Forth' and Interphase then drops a pair of industrial tech thumpers. Giorgio & Andreas reappear with a raw, roughshod and deep groove and Marcelino Sanchez's 'Motive One' offers dub techno to close.
Review: Mariko Ide delivers a creative rendition of DeBarge's classic 'I Like It' with her 'Lovers Reggae Mix' on this 7" single. Known for her emotional and transparent voice, Ide transforms the original into a delightful blend of Lovers rock and bossa nova, creating a fresh and breezy vibe that feels both nostalgic and innovative. The 'Lovers Reggae Mix' offers a laid-back, summery groove, while Side-2 retains the essence of the original track with a gentle, soulful twist. Taken from the Cafe Music compilation album, this single is a creative, unique, and brilliantly fun cover that showcases Ide's ability to reimagine familiar tunes in a way that's both respectful and refreshingly original.
Review: Detroit native Ideeyah is a singer, songwriter and performer whose soulful vocals and lyrical storytelling touch the heart. Born LaKeisha Johnson, who you may remember from featuring on Theo Parrish's superb DJ-kicks mix. Here she steps up to his Sound Signature label with a new solo EP produced by Meftah. It begins with praise-giving spoken words and cosmic synths on 'Invocation (feat Maimunah Baqui)' then takes in deep and jazzy broken beats on 'Align', heavenly keys and vocal coos on 'Light' and slow motion grooves on '2020' where Ideeyah's effortless smooth and seductive tones melt the heart. 'Eat The Plants' and 'Sweet Chariot' are two more magnificent vocal pieces with gentle live drums and meaningful pads.
Review: This six-track mini-album delivers Southern Californian punk at its best - fast, furious and packed with anthemic sing-along tracks. The new pressing comes on translucent white vinyl and includes an additional bonus track: a high-energy cover of Bad Brains' iconic 'Banned in D.C.,' originally released on a split 7? with Good Riddance. Combining raw energy with infectious melodies, this release captures the spirit of the punk scene with a fresh twist so whether you're a long-time fan or a new set of ears, this updated version offers a perfect opportunity to dive into the band's powerful and relentless intensity.
Review: EC Underground is back with more inquisitors of low-end heavy sounds on Bass Scene Investigation vol 1 and again digs deep into the worlds of electro, techno, breakbeat and IDM. The compilation kicks off with the skittish percussive patterns of Illektrolab's 'Making Heads Dip', then heads into moody ground with ADJ, Pablo Funk brings some menacing synth work and Errorbeauty gets all weird and trippy with some mad electronics. Francois Dillinger offers a dystopian electro sound full of irresistibly jacked-up drums. A fine investigation indeed.
Review: The legendary single from Illusion's self-titled album, which includes iconic tracks like 'Madonna Blue,' 'Man of Miracles,' and 'Theme,' is being reissued on vinyl in both black and coloured versions. This special release has been newly mastered from the original tapes by Phil Kinrade at AIR Mastering, under the supervision of producer Paul Samwell-Smith. The reissue offers a range of mixes, including an extended, dancefloor-ready version, a punchier drum mix, a melodic, synth-enhanced rendition, as well as an instrumental and bonus beats version, providing fresh takes on this classic track.
Review: This is a first-ever vinyl reissue of the Illusion band's self-titled and legendary single, which is taken from their self-titled album which also featured signature tracks like 'Madonna Blue,' 'Man Of Miracles,' and 'Theme.' This reissue has been newly mastered from the original tapes by Phil Kinrade at AIR Mastering, with producer Paul Samwell-Smith overseeing the process and it features various different mixes. There is the floor-ready extended mix, the harder drum mix, a more melodic and synth-laced version and then an instrumental and bonus beats.
Review: So what happens when a European post-punk outfit meets an American 'ambient country ensemble'? The answer: A Nanocluster. In fact, three. This being the third. Immersion first met SUSS in September 2021, and the results were mesmerising. Three years on and the impact was no less staggering. Originally landing in September 2024, part tres takes us into the kind of musical places we're used to finding Spiritualized or Mogwai, and even then the references are misleading. For as many times as Nanocluster Vol. 3 sucks us into a thick soup of ambient and atmosphere, inviting us to get lost in opiate cloud formations, it also asks us to jump on board a stream train of rolling and driving rhythms, juggernauts gathering depth and complexity as they forge ahead. A stunning collection of highly evocative and incredible musical instrumentals.
Review: 'Fast Freddie the Roller Disco King' is a tune that is as good as its title. It was originally a single by Little Anthony and the Imperials (as The Imperials), featuring none other than Prince on guitar, synth and keyboards. The track's base was recorded by Prince with Pepe Willie and Andre Cymone at Sound Palace Studios in New York with later vocal and instrumental overdubs by The Imperials. The B-side, 'I Just Wanna Be Your Lovin' Man,' is an early version of '10:15,' though Prince's involvement as guitarist on this one remains unclear. Either way, this is a brilliant reissue for disco and funk lovers.
Review: The always excellent Minimal Wave presents a rare EP from Greek electronic pioneers In Trance 95 here. Alex Machairas and Nik Veliotis formed the duo in 1988 and very much helped define Greece's early electronic scene with their minimal synth and EBM-inspired sound, all of it usually marked by analogue warmth, hypnotic melodies and a futuristic sensibility. This release captures their innovative spirit and cult legacy across six unreleased tracks recorded between the late 80s and early 90s in Athens. It sounds magnificent and is a long-overdue glimpse into their visionary archive for new fans, or a fine reminder of their roots for those who have always been tuned in.
Nothing Makes Me Feel Better (Ski Oakenfull remix) (6:30)
Keep Me In The Dark (Bluey's Uplifting Bass remix) (8:10)
Review: Incognito's 'Nothing Makes Me Feel Better' is a double-sided knockout that seamlessly blends house and soul music. Released on Splash Blue, this 7" offers two standout remixes. Side-1 features the 'Keep Me In The Dark' (Bluey Uplifting Bass remix), a house groove infused with funk, pop, and house elements. This track highlights the perfect marriage of soul and house. On Side-2, the 'Nothing Makes Me Feel Better' (Ski Oakenfull remix) ramps up the energy with disco and house vibes, expertly adding soulful touches. Both tracks exude class and showcase Incognito's ability to blend genres, making this release perfect for fans of sophisticated house and soul music.
Review: Pressed on stunning aquamarine vinyl, this 12" delivers a balearic escape through two extended reworks from the brilliant minds behind the recent Aqua Cheta remix EP. Italian producer Infradisco's original compositions are reimagined by Hear & Now and Manu Archeo, resulting in lush, transportive soundscapes perfect for blissful introspection or sun-drenched relaxation. Side-A features 'Beyond The Caduca (Hear & Now Remix)', a guitar-laced journey that glides effortlessly between balearic warmth and gentle motion. The remix expands on the original's dreamy essence, adding layers of melody and depth that ebb and flow like waves against a secluded shoreline. Side-B presents 'Beyond The Dulcis (Manu Archeo Remix)', an exquisite slice of seaside ambience. Soft, serene and filled with healing frequencies, this version unfolds with soothing textures, gentle horns and an atmosphere that feels like a tranquil sunset over endless waters. A masterful pairing of new-age dreamscapes and nostalgia, this release is great for those seeking deep relaxation or sonic escapism where tracks radiate positivity.
Review: The Fourier Transform label outlay an arresting sonic journey on their debut release, bringing together breakbeat, ambient IDM, ambient techno, and prog house under a single banner. Opening with Inkipak's 'Betwixt', we're met with sonorous low-mid square waves and machine-gun-fire breaks, recalling the breathtaking, verging on apocalyptic expanse of a warehouse rave turned laser light show turned warzone. We break from this warring weir with 'Omnicron Acid' and 'City Of Tomorrow' by Gimmik and Brian Kage respectively, which lowers the intensity and sonic flow via spacious atmospheres and dudding percussive pops. Finally, the perfect fusion of the former two moods is achieved on 'Corrosive Tongue', the lead synth on which sounds like just that.
Review: Kaoru Inoue's latest EP continues the journey of his acclaimed long player Dedicated to the Island, which was recently released for Record Store Day 2024. This six-track sequel features a series of self-reworked tracks from the LP, a first-time vinyl release and previously unreleased material as well as a remix by Argentina's SidiRum, who is a leading tastemaker in the tribal and slower house scenes. True to its title, the EP emphasises enhanced rhythmic elements and delivers a blend of organic, left-field electronic sounds. Inoue's talent for crafting atmospheric, innovative sounds will only improve with this superb 12".
Review: In 1994, Vienna-based project iO, which was composed of Patrick Pulsinger, Erdem Tunakan, Umberto Gollini and Gerhard Potuznik, released a series of 12"s titled 'Attack', 'Decay', 'Sustain,' 'Release' on their iconic label Cheap Records. Known for their minimalist, Detroit-inspired techno, one standout track, 'Claire', broke the mould with its mid-tempo beat at around 110 bpm, jazzy chords, sample-based groove and sharp 909 drum sounds. It bridged techno, trip-hop and house and caught the attention of Mo'Wax Records in London, who re-released it to great acclaim. Embraced across genres, it quickly became a DJ favourite and remains a beloved classic to this day which is why it reappears here.
Review: By now a very well-recognised trailblazer of the minimal house and techno circuits, iO Mulen (Aleksandr Voznichenko) shares his third album, Rock Like This, through his own Mulen imprint. Refusing to fall back on heavy-handed press notes, the eight tracks on this perfect composite storm are enough to bewitch us of their own accord. These house and techno retrofusions play out like the kind of sounds that the impossible dangling contraption depicted on its front cover might generate; 'Rock Like This' throws back to Chicago deep house and jankout acid trance, magicking up a shockingly good fusion of disparate styles in a bionic mode, while the rising actions of 'How Do You Say' and 'Emergency' teem with twin enjoyments of and reverences for 90s Euro and acid techno. There are cosmic-trancier subplots on there too, such as 'I'm Waiting For', which selects its constituent sounds with an aesthete's ear, striking a difficult balance of the raw and the fine. Voznichenko refuses to privilege one referent genre over another, and it results in a respectfully done, carefully made and truly exciting dance record, unafraid of cheese nor sophistication, and reconciling the two.
Review: Merwyn and Inkswel's latest is a refreshing blend of deep house and leftfield flair. The title track, 'Eternal Freedom', kicks off with a broken beat groove and a powerful vocal delivering a message about liberation, fusing deep house with an inventive rhythmic style. 'Cloud Eaters' follows with a soulful vibe that channels early 80s funk, creating an uplifting and nostalgic energy. 'Skyline' rounds out Side-1 with its own unique twist on house, pushing creative boundaries in style. On Side-2, Linkwood's remix of the title track injects a spacey disco vibe, layering a deep house groove with subtle funk elements that feel both classic and fresh. Gb's remix takes the track in a different direction, dialing back the energy with laid-back, 80s-inspired electro textures, offering a relaxed and introspective vibe. Together, these tracks deliver a dynamic and nuanced listening experience, perfect for fans of eclectic, message-driven house music.
Review: Prince Chamba joins forces for a superb new roots cut here with Slimmah Sound and Ital Horns. Their 'Secret Light' is a smoky and seductive sound with wobbling low ends and impassioned vocals delivered with a heart-aching twist as the melanotic horns fly up top and rousing chords add some hope. Slimmah Sound & Ital Horns then add their own heavily reverbed dub version and Slimmah Sound offers 'Melody Of Light' which is full of hypnotic harmonica leads. A second dub version once again reworks it into a stoner's delight that will sink you deep into the sofa.
Review: Brian Dougans and Garry Cobain, the masterminds behind Future Sound of London, return with The Pulse EP Vol 3, a reissue of their classic work under various aliases on the Jumpin' & Pumpin' label. This highly anticipated 12" features tracks that showcase their 90s techno brilliance. Side-1 opens with Smart Systems' 'Tingler' (Four By Four mix), a dark, sinister track that channels Beltram's 'hover' sound into a hardcore rave anthem. Indo Tribe's 'Owl' (I Can See You mix) follows, hailed by fans as one of the greatest breakbeat hardcore tracks ever made, a retro-classic loaded with chunky, energetic beats and an unforgettable sample. Side-2 kicks off with Indo Tribe's 'Bite The Bullet Baby' (Jacques Reynoix mix), another gem that blends early 90s rave energy with a unique edge. The real highlight, however, is Yage's 'Calcium' (Elementary mix), which first appeared on Future Sound of London's Accelerator album. Even today, it sounds transcendental and timeless, its melodic piano lines and otherworldly ambiance continuing to win over listeners. This EP is a vital piece of underground rave history and an essential listen for fans of early techno and breakbeat hardcore.
2023-05-12 Set II (2220 Arts & Archive, Los Angeles) (22:18)
2023-05-13 Set I (22:48)
2023-05-13 Set II (22:44)
2023-05-15 Set I (The Chapel, San Francisco) (23:10)
Review: The debut recording from The Ancients, an intergenerational trio featuring Isaiah Collier, William Hooker and William Parker initially formed to play Milford Graves' Mind Body Deal exhibition at the Institute of Contemporary Art in Los Angeles. This double LP captures the raw energy and improvisational brilliance of their live performances, showcasing the enduring legacy of free jazz. Collier's tenor saxophone soars and wails, drawing on influences from John Coltrane to Charles Gayle, while grounding his explorations in a deep understanding of structure and form. Hooker's drumming is a force of nature, a whirlwind of polyrhythms and explosive energy that pushes the music to its limits. And Parker, a true legend of the avant-garde, anchors the music with his virtuosic bass playing, creating a foundation for the trio's improvisational flights. The music is both a celebration of the rich history of free jazz and a bold exploration of new sonic territory. The Ancients tap into the spirit of their predecessors, channeling the energy of the Cecil Taylor Unit and the Ornette Coleman Trio, while forging their own unique path, the power of collective improvisation looming large throughout.
Donald Byrd - "You Gotta Dig It To Dig It" (13:35)
Review: Three Trumpets was recorded in 1957 and released on the New Jazz label. It features the Prestige All Stars led by revered trumpeters Art Farmer, Donald Byrd, and Idrees Sulieman and supported by a solid rhythm section of pianist Hod O'Brien, bassist Addison Farmer, and drummer Ed Thigpen. This sublime album includes five original compositions, one each by Farmer, Byrd, and O'Brien, and two by Sulieman. While none of the tracks became hits in their own right and with 'Palm Court Alley' being a blues delight, they all offer up dynamic performances and impressive interplay among the brass musicians.
Review: IAMX is Chris Corner's solo project, which can be traced back to 2004, around the time his former band, Sneaker Pimps, went on hiatus. Spanning multiple genres, from burlesque-hued dark cabaret to electronic rock and unbridled dance music, there have now been eight studio albums, two remix records, two live albums and two experimental albums released under the moniker. Fault Lines² is among the finest in that oeuvre, and the most recent. Fresh for 2024, this collection of work paints a vivid picture of the artist - at times unsettling and slightly eerie, in other moments melancholic-yet-euphoric, it's dramatic, theatrical, innovative and strangely teetering on the brink of traditional and more explorative schools of sound. Probably not something you'll hear much like again this month.
Review: Few producers in the Nigerian capital, if any, sound like Ibukun Sunday. Marrying West African tones with Western ambient sensibilities and form, on Harmony Balance the juxtaposition between the two is perfectly measured. Not just a nice album title, then. Partly based on the ideas of Swami and Hare Krishna founder A.C. Bhaktivedanta, and particularly his work Bhagavad-Gita (English: As It Is), which focuses on the duality of human nature and existence, according to the notes we have this plays out as a tension between arrogance, envy, and the pursuit of power versus self control, humanity and devotion to others. Less conceptually, the album is just really, really nice, a soothing embrace that sounds mournful, hopeful, optimistic, and reflective all at once.
Review: Ice's early work captures a pivotal moment in funk's evolution, weaving together taut grooves and vibrant African-inspired rhythms. Recorded during the band's formative years, the music brims with raw energy and creative ambition. Polished basslines drive the tracks, while percussion bursts with a vitality that speaks to their Parisian influences at the time. Horn stabs and tightly wound guitar lines add layers of complexity, and the occasional vocal inflection injects a sense of urgency. With each listen, the production reveals new texturesismall details that elevate the record beyond its era.
Heartbreak Of A Broken Stitch (feat Harriet Morley) (2:37)
SM_FID (2:26)
Everything Ends With An Inhale (1:29)
Cement Skin (2:42)
Pixel Petals (2:52)
Slammd (interlude) (1:42)
Closer (3:12)
Terrence's Time Bomb (2:05)
Fragmentary (Eraser) (3:03)
Inside My Head (interlude) (2:12)
Still (feat Dawuna) (2:06)
Fawning (interlude) (2:02)
Kiss Me Again (6am In Helsinki) (feat Bennettiscoming) (2:39)
Review: Spanish producer Nueen and Manchester vocalist and rapper Iceboy Violet, who you might well recognised from appearing on Hyperdub releases by the likes of aya and Loraine James, come together for a collaborative work that follows the story of a four-year-long relationship. As you can imagine, therefore, it takes in peaks and troughs, emotional highs, depressive lows, and plenty in between that will all feel all too familiar to anyone who has ever fallen in and out of love. Drill-laced beats are laced with intimate melodies, and excitable chords spiral out of control while a menacing ambience percolates up from below. It's a powerful listen with a relatable narrative.
Review: Onsen Music isn't just the title of Shoko Igarashi's second album, but rather a manifesto of sorts. The name refers to a "genre" of music the saxophonist, flautist, and vocalist has created. A strange, bouncy-yet-angular corner of the electronic music universe that feels like it's inviting you to a party thrown by Mr Soft and a flying unicorn. Sounds extend themselves, curve, wobble, warp, float, glitter, and do everything else in their power to make sure you know this is a safe listening space that's equally danceable. Ever bubbly and colourful, 'Rainy' represents the full blown nu disco end of the record's vast spectrum, while the likes of 'Ukigusa' come over far closer to Ryuichi Sakamoto's clean, crisp and cuddly pop excursions - staunchly leftfield and out there, but strangely familiar and universally likeable.
Review: The limited edition release of Iggy Pop's Pop Music is a must-have for fans and collectors alike. Presented on ash grey 180-gram audiophile vinyl and limited to 1500 numbered copies, this 1996 compilation showcases 20 of Iggy's best tracks from his BMG era (1979-1981). Highlights include 'Bang Bang,' 'I Need More,' 'I'm Bored,' 'New Values' and 'Five Foot One.' During this period, Iggy was associated with Arista Records, marking a departure from his raw punk roots into new wave experimentation. Iggy Pop became a legend because of his contributions made during this period in his career. This is a great example at those times.
Review: Iggy Pop, the avant-garde icon and punk pioneer, in his element, delivering a blistering performance at the 2023 Montreux Jazz Festival. Backed by a seven-piece band, he breathes new fire into Stooges classics like 'TV Eye' and 'I Wanna Be Your Dog', igniting the crowd with his raw energy and undeniable stage presence. The setlist spans his illustrious career, from the visceral punk anthems 'Raw Power' and 'Search and Destroy' to the infectious grooves of 'The Passenger' and 'Lust For Life'. Pop also showcases material from his recent album, 'Every Loser', with tracks like 'Modern Day Ripoff' and 'Frenzy' seamlessly integrated into the set. This recording is a testament to Pop's enduring legacy and his ability to captivate audiences with his unique blend of punk rock and avant-garde theatricality.
Review: Recorded in 1975 after the disintegration of The Stooges and eventually released, albeit in altered form, in 1977, the album saw Iggy recording his vocal contributions at weekends, on leave from the mental institution at which he was recovering from heroin addiction. With the addition of pianos, acoustic guitars and saxophones to the musical palate it's a different beast from the raw power - and Raw Power - of the Stooges, a bridge between his garage rock roots and the classier pop offerings he'd soon become known for. A fascinating document, regardless, it's well worth a listen.
Review: Iglooghost's third studio album marks a departure from the intricate world-building of previous works, embracing a sonic maximalism that pulses with chaotic energy. The Irish producer seamlessly blends IDM, techno, deconstructed club and grime, creating a whirlwind of sound that never overwhelms thanks to his meticulous layering and dynamic composition. Tracks like 'Alloy Flea' and 'Pulse Angel' showcase Malliagh's ability to keep the music clear and coherent, even as he adds element after element. His voice, more prominent here than on past projects, takes on new dimensions, from distorted static in 'Coral Mimic' to ethereal contrasts with female vocals on 'flux•Cocoon'. The album's production is dynamic, with a textured, weighty sound that contrasts with the clutter of earlier works. While the relentless intensity of some tracks might seem predictable, Malliagh's ability to craft tangible build and release ensures each moment feels intentional. The result is an intense experience, one that finds Iglooghost maturing as an artist without losing his experimental edge. This album presents a refined sound, rich in texture, rhythm and conceptual depth, solidifying Malliagh as an electronic innovator with endless potential.
Review: On Higher Dreams is the debut LP from Italian producer and guitarist Isaac de Martin, aka IKE. It is couched in jazz and electronic fusion and draws inspiration from the time the artists spent in Egypt during the COVID pandemic back in 2020. It was there that themes of nature, contrast and cultural reverence for music informed the record's conceptual foundation. Tracks like 'Nilo' and 'Sidda' channel the life-giving force of the Nile and its surrounding traditions, and the whole thing was recorded live to analogue in Berlin so effortlessly merges vintage warmth with modern textures while offering a contemplative, cinematic experience shaped by cultural immersion and personal reflection. A strong debut, then.
Review: Ten years after their brilliant sophomore LP Smoke + Mirrors, rock-radio-ready roilers Imagine Dragons (once celebrated as, among many, the biggest band in the world) mark the occasion with a fresh vault of 14 previously unreleased demos from the sequent album's recording sessions. While the original showed off the band's dynamic range, securing them many a number-one spot, this collection offers a raw glimpse into the creative process of the LV power-pop rovers. Much less polished than official chartists might expect, we still note of the band's seemly evolution out of an already rather anachronistic early-10s EDM-plated sound, primed for radi-a and stadia alike. Many of these songs were written for the road, so it's interesting to hear, and/or imagine, what might've been if the band had followed these songs to their glossiest conclusions at the time.
Review: Imagine Dragons' sixth studio album, LOOM, makes another great step in their artistic evolution and could well be their most accomplished work to date. Produced exclusively by Imagine Dragons and their longtime collaborators Mattman and Robin, the record, which comes on limited gatefold translucent curacao vinyl, strikes a harmonious balance between the signature sound that catapulted them to fame and a newly inspired creative spirit. Across nine fresh cuts including the standout single 'Eyes Closed,' LOOM bring notes of anticipation and optimism around new beginnings. There are singalongs specials like 'Nice To Meet You' next to raw vocal deliveries on 'Take Me To The Beach' and more sentimental sounds like 'God's Don't Pray'.
Immersion & Thor Harris - "Just Close Your Eyes" (3:08)
Immersion & Thor Harris - "Rotations" (4:03)
Immersion & Thor Harris - "The House Of Thor" (2:35)
Immersion & Thor Harris - "In Snow" (4:16)
Immersion & Thor Harris - "At The Wizard's House" (5:39)
Immersion & Cubzoa - "I'm Barely Here" (5:14)
Immersion & Cubzoa - "In The Universe" (3:32)
Immersion & Cubzoa - "Other Ways" (5:14)
Immersion & Cubzoa - "Not About Me" (6:35)
Immersion & Cubzoa - "Neptune" (7:20)
Review: Immersion is the epitome of collaboration. Comprising Colin Newman, of legendary UK post punk outfit Wire, and his life partner Malka Spigel, the two first came together in 1985, former producing the latter's band, and have since fallen in love and combined creative forces countless times. Growing out of their Immersion project, a series of pop up gigs took place at the Rosehill, Brighton, with a cast of influential and cutting edge musicians getting involved. Songs were written and rehearsed before each show, and an album, Nanocluster Vol.1, soon materialised. Now we have the follow up. Disc one is centred on Thor Harris, percussion doyen of Swans, while the second half refocuses our attention on Cubzoa, AKA Jack Wolter of Penelope Isles, with Matt Schulz (Holy Fuck) also involved. The result is a psyche-tinged ride through swaggering indie, dream pop, chill, and surreal rock, nodding to names from Beta Band to King of Woolworths and beyond.
Review: Marking its debut on vinyl, Jiro Inagaki's groundbreaking jazz-rock album introduces a bold fusion of new rock elements, featuring Inagaki's vocals alongside Sammy and Yasushi Sawada for the first time. Backed by a stellar lineup including Masahiko Sato, Kimio Mizutani, and Hiro Yanagida, this reissue by Nipponophone underlines Inagaki's status as a maverick in Japanese jazz. Originally released in 1971, the album blends heavy rock grooves with an enigmatic allure, resonating deeply with collectors of rare groove worldwide. Inagaki, renowned for his saxophone work and production skills, has left an indelible mark not only in jazz but also as a sought-after session player for legends like Stevie Wonder and Frank Sinatra. This reissue reaffirms his legacy, offering a glimpse into his influential jazz-rock era.
I Don't Know What It Is, But It Sure Is Funky (2:53)
Boogie Joe, The Grinder (3:28)
Machine Gun (3:02)
Hair (3:39)
Express (3:36)
Jungle Boogie (3:28)
Living For The City (3:48)
Loose Booty (2:22)
Fire (3:51)
Outa Space (3:32)
Funky Stuff (2:03)
Review: Japan meets funky disco in an explosive fusion led by maestro Jiro Inagaki here on a classic album that gets a worthy reissue. In a particularly inspired year during which he also released Funky Stuff on Nippon Columbia, Inagaki masterfully reinterprets tracks by Quincy Jones, Commodores, Graham Central Station, B.T. Express, Kool and The Gang, Stevie Wonder, Sly and The Family Stone, Ohio Players, Ripple, and Billy Preston on this one. He does so in collaboration with Hiromasa Suzuki, a prominent name in Japanese jazz, and seasoned session musicians who add their own spice. Inagaki brings a fresh, danceable sound here with a broad mix of inspirations from jazz to city pop all shining through.
Review: It appears that Taylor Swift has caused somewhat of a revolution, as since the highly publicised feud with her former record label led the pop megastar to re-record and re-release her entire back catalogue, several other artists appear to be following suit by realising there lay a method ahead to reclaim their art. The latest act to take up arms against a faceless corporation (or merely be influenced by the "Taylor's Version" phenomenon) is alternative rock heroes Incubus, who after much delay, are finally ready to unveil an entirely re-recorded version of their critically acclaimed 2001 full-length Morning View. Re-dubbed Morning View XXIII, this newly revitalised version of their seminal fourth album comes on a limited blue vinyl double LP, complete with sonically sprawling renditions of some of their most essential anthems from the alt-metal bounce of 'Nice To Know You' to the anthemic serenity of 'Wish You Were Here' all the way to the aquatic funk of 'Are You In?' If you're yet to cop this early 21st century classic, make Incubus' version your only option.
Review: There are some records you buy simply because you love the name. Or maybe that's just us? Either way, from where we're sticking stuff into the shopping cart, Index For Working Musik's second long form is one of those examples. Which Direction Goes The Beam more than lives up to the quality of the band name, and then goes and adds artwork which can only be described as 'stunning' into the mix. Angular, jerky, harsh, and artsy rock noises that run between the savage and distorted to the rousing and rollocking, the five piece should be ranking up there with the most innovative, imaginative and inimitable guitar outfits out there at the moment. Chamber-esque arrangements, strange murky mystery, and the overall feeling that we're in uncharted territories and nobody - but nobody - wants to find their way home
Review: The cult Slow Life label has always operated at the more cosmic end of the house and minimal spectrum with speedy grooves designed to make an impact both physically and emotionally. Now a member of the collective, Indi Zone who is half of the Ethereal Logic project, steps out with a solo debut album that flips the script and explores organic grooves and blissful harmonies. It's an escapist delight with supple downbeat drums and gorgeous synth work that ranges from wispy to starry, watery to smeared. It paints a vivid picture of a heavenly tropical wonderland with endless neon glows and soft edges in which to get lost.
Review: Jay Singh steps out with his debut release here under the Indian Man Palais, and it is one that is awash with a vibrant fusion of global influences. His Indian heritage very much comes to bear on the tunes with traditional Punjabi music featuring heavily amongst collaborations with artists encountered at WOMAD festivals across Europe and South America, all of which add some extra diverse dimensions. The EP, which comes on nice purple wax, also incorporates personal elements from Singh's family as it blends sounds rooted in his father's MIDI keyboard compositions and the songs his grandmother would sing to him.
Review: A raw and uncompromising album from the Queensbridge trio with deep roots in the New York hip-hop scene, the very essence of hardcore rap, painting a vivid picture of urban life. Tracks like 'IM3' and 'Born Again' showcase the group's signature sound, a blend of gritty lyricism and hard-hitting production harking back to the golden age of 90s hip-hop, while collaborations with Prodigy and Big Noyd on 'Killa Queens' and Havoc on 'We Don't Give A...' add further weight to the proceedings.
Review: Juan Atkins' Skynet under the Infiniti alias showcases a different side of his sound compared to his iconic work as Model 500 or Cybotron. This album leans towards a minimalist, soulful Detroit techno approach, with fewer layers and a relaxed, mid-paced flow that allows the rich synth sweeps and harmonic pads to shine. Tracks like 'Postcard From The Future' and 'Higher' are tracks that blend subtle melodies with atmospheric percussion and a groovy, uplifting energy. 'Thought Process' is stunning with its ticking, minimal beats, while 'Walking On Water' and 'Coffee Shop (Connection)' explore dub techno influences and soulful elements. While Skynet may not be as recognisable as some of Atkins' most celebrated works like Deep Space, it's still a very enjoyable album that in some ways is more well-rounded. The hypnotic repetition and sparse arrangements offer a fresh perspective on his sound, reminiscent of Detroit techno legends like Carl Craig and Kenny Larkin. For fans of pure Detroit techno with a lighter touch, Skynet delivers.
Review: Canadian-born, German-based producer Ash Luk is best known for his work in Minimal Violence, a band that used electronics to create raucous, vivid punk-rock style live experiences, as well as his role as one half of 'doom electronic' duo S.A.T.I.N. alongside Ireen Amnes. Under the Infinity Division moniker he's created more impressively dystopian sonic adventures that channel a suitably wide array of extreme music styles, from isolationist ambience at the start of 'No Reason' - which then twists into industrial junglist madness - to breakbeaty Sisters of Mercy-style coldwave on 'Weather Prophets'. Fans of Alec Empire's notorious Digital Hardcore Recordings label and its output should find this entertainingly terrifying and twisted up musical vision very much up their street.
Review: Since forming more than ten years ago, Inhaler have exceeded all expectations and proven they're among the very best indie rock outfits touring today. They have shaken the nepo baby tag (singer Elijah Hewson is Bono's son) and earned fans' understanding that they're at the forefront of the industry on merit. They have a huge following in their hometown Dublin, where they are set to headline a 20,000 capacity show, and are filling out top venues all over the globe. With this ambitious new album, their live shows look certain to hit new heights. Single 'Your House' is a highlight as it channels the rabble-rousing atmosphere of DFA records legends LCD Soundsystem in the verses, meanwhile stunning gospel harmonies provide spine-tingling backing to Hewson's singing. It's their third album and, perhaps driven by the desire to push themselves, it shows the band run the gamut of pop whilst keeping their indie rock DNA firmly intact - a sparkling addition to the Inhaler oeuvre.
Review: Simon Huxtable's alias Inhmost returns to Tonight's Dream Records with a new album, Breaks & Dreams, a continuation of his 2022 release Space & Awareness. Playing on the trend of atmospheric breaks that has risen in popularity over the last decade or so, Huxtable nonetheless pushes the boundaries of the sound, his latest eight offerings providing ample glimpses into the complex structures behind our fascination with this beatified genre. Opener 'Light Haze' is a hypnagogic one, its oceanic feeling marred by a decided swing pattern in the break line itself, suggesting an essential imperfection even in the amniotic returns to oneness so suggested in this kind of music heard elsewhere. The albums steers itself in an ever-more immersive direction by the time it reaches the B-side too, with 'Signs From The East' treating its great washy ambiences like against-the-wind zephyrs against which we cannot fight and to which we must give ourselves over.
How I Feel (Inkswel Broken Soul instrumental mix) (6:40)
How I Feel (Leonard Charles Ponsonby Funk mix) (4:43)
How I Feel (Leonard Charles Ponsonby Funk instrumental mix) (4:49)
How I Feel (beats) (6:34)
Review: Before he passed away earlier this year, Detroit legend Amp Fiddler completed a number of recordings. This, a collaboration with Australian DJ/producer and all-round 21st century dancefloor soul don Inkswel, is one of the first to land in stores. Inkswel places his own 'Broken Soul' mixes on the A-side, with the full vocal version - featuring Fiddler in full flight as well as the legend's mazy electric piano, organ and Clavinet licks to the fore - being our pick of the pair. This is organic dancefloor soul with a ubbery 'broken house' groove and plenty of quality organic instrumentation. The newcomer Leonard Charles Ponsonby provides vocal and instrumental 'funk' mixes on the flip, both of which retain Inskwel's warm, organic-sounding groove while adding colourful electrofunk and P-funk style synths.
Review: Room In The Sky's latest limited edition release showcases The Inn House Crew and delivers some heavyweight roots rockers dubs featuring an impressive lineup of musicians from Jamaica and the UK. The collection includes performances by legends like Sly Dunbar, Flabba Holt, Vin Gordon, and Robbie Lyn, alongside talents such as Ben Bell, Horseman, and Jerry Lionz. Recorded at renowned studios like Tuff Gong in Jamaica and Ariwa, this is a record that is steeped in authentic roots vibes. The DIY-inspired artwork, featuring eco-friendly, inside-out sleeves, complements the music's raw and organic feel and makes it a must-cop for roots dub enthusiasts, especially as this pressing comes in a lovely scree-printed jacket so beautifully celebrates some deft craftsmanship and real heritage.
Review: Inner Echo's latest venture dives into dub's atmospheric underbelly with an ear for intricate detail and deep emotional resonance. Basslines don't just anchor the compositions but ripple through them, creating a sense of movement and weight. Vocals surface like apparitions, haunting but never overpowering, while percussion glints at the edges, sharp yet restrained. The production leans into space and silence, allowing melodies to linger and decay in equal measure. There's a timeless quality here; it's dub imagined not just as a genre but as a state of mind, with every element fine-tuned to pull listeners into its reflective core.
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